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UNCOMMON MATTERS
$420
When Amelie Riech launched her jewelry studio in 2012, she felt uncertain about her trajectory. The fashion designer named her venture “Uncommon Matters” a title meant to evoke both mystery and inclusion. To that end, her creations defy expectations of how jewelry should look and feel. Her debut collection featured a series of torus-shaped porcelain rings and necklaces. Her latest line comes full circle called Full Volume, it expands on her experiments with the torus shape while delivering the durability of sculpture with a lightweight construction. It consists of brightly polished gold and silver earrings, necklaces, and bracelets in tubular shapes that curve and arc. “I wanted to design big voluminous pieces of jewelry that were lightweight and comfortable,” says Riech, “while resembling something much larger and heavier.” She likens the forms to puffy intertwining donuts.
$9.95
It turns out that nearly 400 million tubes of almost empty toothpaste are thrown out every year. Because of the aluminum and plastic composition most toothpastes are contained in, they are impossible to recycle and not profitable for sanitation companies to recycle. Turn a new leaf, David’s mouth cleansing paste is natural and contains zero packaging waste. Inside, the toothpaste is free of sweeteners, colors, and artificial preservatives. In fact, the premium natural toothpaste uses one primary ingredient peppermint oil which is distilled from the plant’s leaves. The fully aluminum tube and paste is vegan and cruelty free, making it fully recyclable.
Hand Curved Porcelain Banana
Katie Ridley Murphy has a hard time throwing away the fruit in her fridge. “When they start to decompose, I think they look so pretty,” the Atlanta-based artist says, explaining how the idea to create a porcelain banana came from observing produce spoiling in the cold-storage box. Murphy hand-picks one banana from the bunch and chisels a similar decomposing form out of raw black or white porcelain, usually while holding both simultaneously. In a similar process to making dried fruit, the sculpture is dried out for a week, then fired in the kiln, dipped in a clear glaze, and finally fired for a second time. Accounting for shrinkage in the firing process, Murphy recreates every detail at 20 percent larger than the original specimen, whittling grooves and dents by hand. In total, each takes nine days, give or take, to make.
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